The director of photography behind Oscars frontrunner Mank discusses his background in stills, collaborating with David Fincher, and reimagining black-and-white cinema using contemporary technique
Flossie Skelton
March 25, 2021
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In 2020, Erik Messerschmidt made his feature film debut as director of photography (DOP) on David Fincher’s Mank. A love letter to Hollywood’s “Golden Age”, the sumptuous black-and-white film – which leads this year’s Oscars hype with 10 nominations – follows alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) through the 1930s and 40s as he races to finish the cinematic masterpiece that would eventually become Citizen Kane. But rather than simply emulating the iconic imagery pioneered by Gregg Toland – one of film’s most legendary cinematographers, in large part due to his work on Kane – Fincher and Messerschmidt set out to leave a masterfully modern mark on the story.
“I felt like it was quite possible – and I’ve seen it before, with black-and-white in particular – for the images to become almost a parody,” says Messerschmidt, speaking over the phone from LA. “And parody was the last thing we wanted.” The pair were wary of leaning into a cinematic style that would draw “too much” attention to the period, thereby detracting from the authenticity of the narrative; rather, they hoped to transport viewers to old Hollywood in a less contrived way.
The Fincher Analyst 